Will it come tomorrow or not?

Olga Dykhovichny - about conformism and censorship, family values and feminism

Olga Dykhovichny is one of the most beautiful people in Russian independent cinema, and at once in three hypostations: actress, director and producer. At the age of 19, Olga married directed by Ivan Dykhovichny and played in his two films: “Kopeyka” and “Inhale-Each”. After his death in 2009, she continued his business-became the producer of the 2MorROW film festival, which is held this year for the 9th time. In an alliance with director Angelina Nikonova, she made the films “Portrait at Twilight” and “Welk Moom”, where she played the main roles: both films were shot almost without a budget, as a result fell into the largest world festivals.

About the festival

This is the 9th 2morrow festival. For three years it was made by Ivan. In 2009, he left, and we began to make a festival without him.

We tried different formats. The cinema is a space in which it is not possible to create an atmosphere. Even the MMKF compromise: “October” is not a festival center, this is a commercial cinema, we definitely did not want such a center.

After all, today in the city there is no cinema center. There is no synemate. Therefore, the second year we have been holding a festival in the Moscow Museum: the combination of the museum and cinema in the museum space emphasizes the value of the movie. In parallel, an exhibition of contemporary art takes place: the Gallery 21 curators have prepared an exposition. And below we have a film school. Three halls, plus a film school, plus an exhibition-for me this is some kind of true format of the festival.

About conformism and compromises

In the Francophony, a complex question is raised, which is more important: to maintain honor, mind and conscience or to preserve the lives of people and works of art.

"Francophonia" - the view of a person of another culture; Sokurov allows himself to raise this issue because he is not so painful for him.

The feeling of shame, not experienced by the French, does not apply directly to him. And perhaps it was because of the topic that the film did not get into Cannes. I think everything is not easy with her discussion in French society.

At the festival there was another film, "Jan Kara. The righteous of the world" is also about the choice. This man painfully lived his whole life, knowing that in his hands there was an instrument to stop the tragedy. In Poland, he saw how they beat a Jewish boy, and did not stand up, thinking: "Well, someone else will do it. Someone else will defend."

My elections are not comparable to either the French elections during the Second World War, or with the choice, especially Leningraders during the blockade period, or with the choice of Poles who lived and turned a blind eye to the horrors that they knew about.

I'm ready to negotiate. I am ready to pay some price, not to show certain films, while showing others. I envy people who have a black and white perception of reality, especially if these are strong-willed people who adhere to either black or white and prove the presence of these categories with life. I look at them with admiration. I have a goal. There is an internal dialogue with Ivan, who does not break. My choice: either show 60 films, or not show anything. I am compromising. I am not a revolutionary.

About today

Everything around is becoming primitive.

Suddenly, it turns out that to love the homeland is to write false works at the school about how I love birches, rivers and mountains. Family values are "a woman with a scythe, a husband with a beard and five on shops." The primitivism, which is now illustrated by the most difficult human concepts, hurts me very much.

Therefore, there is our festival. Sixty films with shades of complex human feelings. When love can be manifested through tenderness, through parental love, through violence, through rejection, but these are all shades of love.

In a collision with another look, intolerance and hatred arise. This is a problem. We are in confrontation with each other. We prefer to remain silent than to enter into a dialogue, since it will end in a conflict.

On the topic of Ukraine, Syria, the confrontations of the West and Russia. I see how in my close environment people really believe myths that give the illusion of struggle. And I understand that people replace passions with the lack of real life, real emotions, real feelings.

Recently, I watched Zhenya Mitta’s picture “Speech and Punishment”, about Pussy Riot. In addition to the fact that Nadia and Masha are really whole personalities, I was struck by another. Documentation of time, mood, which is not at all in Russia at all. It disappeared. There was a unification of good people. There was euphoria from the fact that you went out into the streets, met with like -minded people. And now it suddenly turned out that we live among those who think differently. Therefore, you need a festival. When 300 people, frozen from different feelings, look at the white wall, at that moment I understand that we are in a single impulse ... I do not have enough this feeling of shoulder.

About a radical gesture in art

The presence or lack of political motivation is fundamentally in contemporary art.

This is the difference between the artist in the film "Spermmer" and Peter Pavlensky. For Pavlensky, this is still not an artistic gesture, but political. It seems to me that in an artistic gesture he is bored. And Oscar Davitsky - he is just good inside the artistic gesture. He turns to each person, and Pavlensky - to the system. Davitsky exists in a different field, not in the context of overcoming the ban: he experiments with the limits of life, with the possibilities of existence. He scares, but I'm not very scared. (Laughs.) Probably, for Russia this is not enough already. In Russia, this is perceived as a game. And Pavlensky has no game. There is no vanity in his motivation.

I do not see the existence of such an artist as Davitsky in the Russian context. Our art cannot be divorced from dialogue with power. In Europe, art can exist in a dialogue with a person, and in Russia somehow it cannot exist separately from power.

About Ivan Dykhovic

Ivan did not leave my life.

I live in the house that he built.

There is Vova Dykhovic, who is more and more like him every year. There is a festival that, if Ivan had not stood behind him, would not have happened. I would give up.

If I have questions, I can find answers in memories.

The film "Kopeik" is a strange fate: every ten years in a new political context, he gains a new sound.

My life takes place in the house that he came up with. There is a place for a round table, and it always stands there, it is a table of his parents. Simonov and Shostakovich sat at this table ... And now I am with my friends.

There were no random things in Ivan's life. There were no random meetings. He was endowed with the ability to live every minute. Do not ate standing. He had two examples of cultures, full of the beauty of everyday life: Georgia and France. These white tablecloths are on the table. I can’t avoid passing points ... But this is a lesson I am learning.

About feminism

My plans do not have to become a feminist symbol.

It depends on what to call feminism. I am active, it is important for me to formulate goals, to achieve them. It is important to be useful to society. It is important for me to be able to influence. Probably, according to these criteria, I am a feminist.

It so happened that the festival is made by six young women. The exhausting work of which remains in the shade. Each combines three or four roles. Within the framework of our budget, we cannot withstand and rightly compensate for this work with money.

I think that endurance, combined with the lack of vanity and desire for material compensation, is female qualities. I can’t say that women are less demanding ... But women are easier. Because there are prevailing patterns: to remain in the shade, to drag five to ten zones of the family’s life on yourself, not to complain and do everything for the sake of a big goal-all these are the qualities inherent in women.

About cinema without budget

Here I read in the newspaper: it turns out that Andron Konchalovsky founded the debut film studio "Cinema without a budget". Let's see. (With a laid. ) Even the wording is strange: how can you help make a movie without a budget? We tell the recipes, because we have passed it ourselves, in this we exist.

For example, now we are faced with the task of making the film "The Thirty Love of Marina." The script was written by Angelina Nikonova, she is also a director, I will play the main role. Our task is to make historical cinema for tiny money. You sit and think: "This is impossible!" How it was impossible to remove the "portrait at dusk." Or "Home Home" in New York. Absolutely everyone refused to work with us. But in the end it turned out. The word "impossible" turns me on. It is such tasks that are interesting to me.

About censorship

"From afar" Lorenso Vigasa is a film about gay in search of a relationship. "Tangerin" by Sean Baker-about a prostitute-transgender. Everywhere there is a marking "18+". We consulted with lawyers. Even within the framework of the current legislation, we have the right to show these films. Yes, we have to make several pa and curtsies. That is, we are not forbidden to show, we are simply forced to do this in a not very convenient position. Well, while I'm ready for this pose.

If we talk about the marking "18+", then many films are now falling under it. This is despite the fact that people can enter into legal marriage from the age of 14. That is, you can do it, but you can’t watch.

About emigration

I could not go anywhere. I love everything here.

I had a short experience: we made a movie and lived in America for six months. I cannot live outside of understanding the context. In my opinion, emigration is a difficult story. Getto is a punishment. And if there is no real physical danger, then life here will be more complete than among emigrants, clearly regulated by the company of another country.

No matter how outstanding you you are, you will have to start everything from scratch, and you are destined to grow up to, probably, half of the possible ceiling that would give your space. Even those who have become "citizens of the world": their work still remain reflexions, a dialogue with Russian culture.